Joseph Haydn – Famous Works

Haydn string quartets Erdody edition title page
Edition of Haydn’s string quartets dedicated to Count Erdődy, reflecting his pivotal role in shaping the genre.

Joseph Haydn (1732–1809) stands at the center of one of the most important transformations in eighteenth-century European music. Across a creative career extending from the early Classical period to the threshold of the nineteenth century, the symphony, string quartet, and sonata acquired greater scale, coherence, and expressive flexibility in his hands. His long service at the Esterházy court gave him an exceptional laboratory for composition and performance, while the European circulation of his music and his two journeys to London decisively broadened both his audience and his creative horizons.

His music combines economy of material, a clear sense of large-scale form, and an extraordinary ability to transform even the simplest musical idea. Pauses, sudden dynamic contrasts, unexpected harmonic shifts, and rhythmic games become organic elements of a language that can be witty, dramatic, lyrical, or deeply reflective. Behind the apparent balance of Classicism stands a composer who experimented constantly with form, time, and the very experience of listening.

His vast output includes symphonies, concertos, quartets and other chamber works, keyboard music, sacred compositions, oratorios, and operas. The following selection focuses on the works and cycles that most clearly reveal the evolution of his compositional language and his place in the history of Western music.

Symphonies

Haydn’s symphonic output spans more than four decades and traces almost the entire development of the eighteenth-century Classical symphony. From the early works of the Esterházy period to the large-scale scores written for Paris and London, the orchestra gradually becomes the vehicle for ever greater architectural scope, dramatic intensity, and expressive variety.

  • Symphonies No. 6 in D major, “Le matin,” No. 7 in C major, “Le midi,” and No. 8 in G major, “Le soir” — The 1761 trilogy belongs to the earliest works of Haydn’s Esterházy period. The prominent role of solo instruments retains links with the concerto grosso tradition, while the “Storm” in the finale of No. 8 already reveals Haydn’s theatrical imagination.
  • Symphony No. 44 in E minor, “Trauer” — A work of 1770–71 marked by unusual dramatic intensity, concentrated thematic writing, and a dark tonal profile. It belongs to the group of symphonies later associated with the aesthetics of Sturm und Drang, although the term was not a historical designation used by the composer himself.
  • Symphony No. 45 in F-sharp minor, “Farewell” — One of Haydn’s most inventive symphonies of 1772. In the final movement, the musicians leave the stage one by one until only two violins remain, turning the very process of performance into part of the musical conception.
  • Symphonies Nos. 82–87, the “Paris” Symphonies — Written in 1785–86 for the Concert de la Loge Olympique, they mark a new scale of symphonic writing. The large orchestra, demanding Parisian audience, and Haydn’s international reputation encouraged works with a broader sonic palette, a more brilliant role for the winds, and especially sophisticated treatment of musical material.
  • Symphony No. 82 in C major, “The Bear” — Numerically the last of the Paris symphonies, it owes its later nickname to the persistent drone and dance-like character of the finale. Haydn combines folk-like energy with tightly organized contrapuntal writing.
  • Symphony No. 85 in B-flat major, “La Reine” — One of the most elegant works of the Paris set, later associated with Marie Antoinette. The variation-based second movement shows the subtlety with which Haydn can transform an apparently simple theme.
  • Symphony No. 92 in G major, “Oxford” — Composed before Haydn’s first journey to England, it became associated with the 1791 events surrounding the honorary doctorate awarded to him by Oxford University. The symphony balances the brilliance of the public concert with meticulous development of its musical ideas.
  • Symphonies Nos. 93–104, the “London” Symphonies — The twelve symphonies connected with Haydn’s two visits to London form the culmination of his symphonic output. Larger halls, more powerful orchestras, and a new public audience encouraged broader forms, stronger sonic contrasts, and an especially direct relationship with the listener.
  • Symphony No. 94 in G major, “Surprise” — The famous sudden loud chord in the second movement is only the most obvious moment in a work filled with subtle games of dynamics, phrasing, and musical expectation.
  • Symphony No. 100 in G major, “Military” — The use of triangle, cymbals, and bass drum in the second movement introduces timbres associated with so-called “Turkish” or Janissary music. The unusual orchestral palette gives the work a dramatic, almost theatrical dimension.
  • Symphony No. 101 in D major, “The Clock” — The characteristic rhythmic accompaniment of the second movement gave the work its nickname. Its deeper strength, however, lies in the precision with which small rhythmic and melodic cells organize large symphonic spans.
  • Symphony No. 104 in D major, “London” — Haydn’s final symphony, from 1795, brings together many achievements of his mature style: an imposing slow introduction, a strong sense of direction, vigorous rhythmic energy, and a finale built from a theme with a folk-like character.

Concertos and Concertante Works

The concerto does not occupy the same central position in Haydn’s output as the symphony or string quartet, yet it includes works that remain fundamental to today’s repertoire. Many were written for specific musicians at the Esterházy court and reflect directly the skills of the performers for whom they were intended.

  • Violin Concerto in C major, Hob. VIIa:1 — An early Esterházy-period work, probably connected with concertmaster Luigi Tomasini. Solo virtuosity is integrated into a clear and flexible early Classical style.
  • Violin Concerto in A major, Hob. VIIa:3 — Another of the surviving authentic violin concertos, with a more singing solo line and an elegant balance between soloist and orchestra.
  • Horn Concerto in D major, Hob. VIId:3 — The horn concerto securely attributed to Joseph Haydn. The writing imaginatively explores the possibilities of the natural horn, long before the modern valved instrument became standard.
  • Cello Concerto in C major, Hob. VIIb:1 — Probably written between 1762 and 1765, it disappeared from the active repertoire for a long period and returned in the twentieth century. Its lively rhythmic energy, direct melodic writing, and demanding solo part have made it one of the central concertos for the cello.
  • Cello Concerto in D major, Hob. VIIb:2 — Dated 1783 and associated with the cellist Anton Kraft. Its technical demands, broader lyrical span, and more complex relationship between soloist and orchestra reflect a distinctly more mature conception of the genre.
  • Keyboard Concerto in D major, Hob. XVIII:11 — Haydn’s most popular keyboard concerto, probably written in the early 1780s. The final Rondo all’Ungarese uses rhythmic and melodic elements that contemporary listeners associated with Hungarian style.
  • Sinfonia concertante in B-flat major, Hob. I:105 — Written in London in 1792 for violin, cello, oboe, and bassoon with orchestra. The continuous alternation and cooperation among the four soloists create a fruitful meeting point between chamber music and symphonic thought.
  • Trumpet Concerto in E-flat major, Hob. VIIe:1 — Written in 1796 for Anton Weidinger and the newer keyed trumpet, it exploits chromatic and melodic possibilities unavailable on the natural trumpet. It is Haydn’s last major orchestral work and one of the most important concertos in the instrument’s history.

String Quartets

Haydn’s contribution to the string quartet was especially profound. From early works that still retain elements of the divertimento to the late quartets, the four voices gradually gain greater independence and their musical conversation becomes increasingly complex. This development proved decisive for the later history of the genre.

  • Six String Quartets, Op. 20, “Sun” — The 1772 set is a landmark in the genre. Its dramatic use of minor keys, independence of voices, and the fugues that conclude three of the six works greatly expand the quartet’s expressive and technical range.
  • Six String Quartets, Op. 33, “Russian” — Published in 1781 after Haydn had stayed away from the genre for several years. He himself presented them as works written in “an entirely new and special manner.” Their economy of material, rhythmic wit, and scherzos in place of traditional minuets reveal a new conception of musical conversation and balance.
  • Six String Quartets, Op. 50, “Prussian” — Written in 1787 and dedicated to King Frederick William II of Prussia, they continue the movement toward greater concentration of material and a more equal distribution of musical activity among the instruments.
  • Six String Quartets, Op. 64 — The 1790–91 set belongs to Haydn’s mature quartet writing. Especially well known is No. 5 in D major, “The Lark,” in which the first violin’s high, floating melody rises above an exceptionally transparent texture.
  • String Quartets, Opp. 71 and 74 — The six works associated with Count Apponyi were written with a strong awareness of the public concert hall. Their decisive openings, larger contrasts, and more brilliant outward style show how the quartet could now move beyond the boundaries of private chamber music.
  • Six String Quartets, Op. 76, “Erdődy” — Among the highest achievements of Haydn’s late chamber music. Formal freedom, harmonic daring, and the strong individuality of each work reveal a composer still reinventing the genre after decades of engagement with it.
  • String Quartet in C major, Op. 76, No. 3, “Emperor” — The second movement is a set of variations on the melody of the imperial hymn Gott erhalte Franz den Kaiser. As the theme passes successively from one instrument to another, variation becomes a demonstration of refinement, balance, and genuine four-part conversation.
  • String Quartets, Op. 77 — The two completed quartets intended for Prince Lobkowitz are among Haydn’s final major works. Their concentration of material and expressive intensity show that the search for new possibilities within the genre remained active to the end of his compositional career.

Other Chamber Music

Beyond the string quartets, Haydn’s chamber music embraces a wide range of instrumental combinations. Particularly important are the keyboard trios and the many works for baryton, which are directly connected with musical life at the Esterházy court.

  • Trios for keyboard, violin, and cello — Haydn cultivated the genre through much of his creative life. In the mature trios the keyboard retains the leading role, while violin and cello broaden the sonic range and strengthen the dialogue among the lines.
  • Trio in G major, Hob. XV:25, “Gypsy Rondo” — One of the best-known late trios. The finale, Rondo all’Ongarese, draws its rhythmic drive from the “Hungarian” idiom as understood within late-eighteenth-century Viennese musical culture.
  • Late Trios Hob. XV:27–29 — This group, associated with the London years, shows how ambitious Haydn’s writing for keyboard, violin, and cello had become. The scale of the forms and the keyboard’s virtuoso demands often approach concert style.
  • Trios for baryton, viola, and cello, Hob. XI — The large number of works for baryton is tied to Prince Nikolaus Esterházy’s particular interest in this rare string instrument. Although the repertoire is seldom heard today, it remains a unique record of Haydn’s creative relationship with the immediate environment of the court.
  • String Trios, Hob. V — The early trios for two violins and cello illuminate a less familiar aspect of Haydn’s chamber music and show the gradual movement from the divertimento tradition toward more integrated forms of instrumental dialogue.

Keyboard Music

Haydn’s keyboard music follows the great historical transition from harpsichord and clavichord to fortepiano. In the mature sonatas, the writing increasingly exploits dynamic nuance, a wider sonic range, and the new expressive possibilities of the instrument.

  • Sonata in C minor, Hob. XVI:20 — Conceived as early as 1771 and published later with the sonatas dedicated to the Auenbrugger sisters. Its dramatic tonality, dense texture, and unusual expressive intensity make it one of the most important keyboard works of Haydn’s middle period.
  • Sonata in D major, Hob. XVI:37 — One of Haydn’s best-known works in today’s piano repertoire. The lively first movement, more lyrical second movement, and brief energetic finale distill central features of the Classical sonata with exceptional clarity.
  • Sonata in E-flat major, Hob. XVI:49 — Completed in 1790 and associated with Marianne von Genzinger, it belongs to Haydn’s mature keyboard works. The expansive second movement and demanding hand crossings reveal a new conception of the keyboard as an instrument with greater expressive and sonic possibilities.
  • Sonata in C major, Hob. XVI:50 — Written during the London period, it exploits the wider range and stronger presence of the English fortepiano. Sudden pauses, interruptions of continuity, and unexpected shifts in the first movement are characteristic examples of Haydn’s mature musical wit.
  • Sonata in E-flat major, Hob. XVI:52 — One of his last and largest sonatas, written in London in 1794. Its denser chordal writing, strong dynamic contrasts, and use of the instrument’s range directly reflect Haydn’s encounter with English fortepianos.
  • Variations in F minor, Hob. XVII:6 — Also known as the Andante con variazioni, they belong to Haydn’s most distinctive keyboard works. The alternation of F minor and F major and the continual transformation of the two principal ideas create a musical narrative of unusual concentration and inwardness.

Sacred Music and Oratorios

Haydn’s vocal and sacred music assumed particular importance in the final years of his life. The late masses combine choral polyphony, symphonic thinking, and solo writing, while the two great oratorios translate the experience of London performances of Handel into an entirely personal Classical language.

  • Stabat Mater, Hob. XXbis — A work of 1767 that contributed significantly to Haydn’s early international reputation as a vocal composer. Its scale, dramatic weight, and variety of individual numbers extend well beyond the limits of a conventional liturgical setting.
  • Missa brevis Sancti Joannis de Deo, “Little Organ Mass” — One of Haydn’s most compact masses, probably dating from 1775–78. The Benedictus is especially notable, giving the organ a distinct solo role.
  • The Seven Last Words of Our Saviour on the Cross, Hob. XX — Originally commissioned in Cádiz as orchestral music to be performed between readings of Christ’s seven last words. The cycle of slow movements, introduction, and concluding “Earthquake” forms one of Haydn’s most unusual formal designs. Versions were later made for string quartet, keyboard, and finally for soloists, chorus, and orchestra.
  • Missa in tempore belli in C major, “Paukenmesse” — One of the six great late masses. The presence of timpani and darker interruptions within the brilliant liturgical writing are connected with the atmosphere of war surrounding its composition in 1796.
  • Missa in angustiis in D minor, “Nelson Mass” — The mass of 1798 stands out for its dramatic opening, prominent brass, and demanding vocal writing. Its later nickname, “Nelson Mass,” became associated with Admiral Nelson’s victory over the French fleet.
  • The six late masses — From the Heiligmesse and Paukenmesse of 1796 to the Harmoniemesse of 1802, they form one of the most important cycles of Haydn’s late career. The orchestra participates actively in musical structure and expression rather than functioning merely as accompaniment.
  • The Creation (Die Schöpfung), Hob. XXI:2 — The great oratorio Haydn composed after his second return from England and first presented in 1798. Inspired by the biblical account of Genesis and by Milton’s Paradise Lost, it combines choral grandeur, bold orchestral tone painting, and one of the most striking musical representations of the passage from chaos to light.
  • The Seasons (Die Jahreszeiten), Hob. XXI:3 — Haydn’s second great late oratorio, completed at the beginning of the nineteenth century. The succession of the seasons, scenes of rural life, and continual musical depiction of nature create a different kind of monumental narrative from The Creation, supported by exceptionally rich orchestral writing.

Operas and Stage Works

Opera did not retain in Haydn’s later reputation the position occupied by his symphonies and quartets, yet it was an essential part of his duties at the Esterházy court. His long involvement with the theatre left traces far beyond his stage works: in his sense of timing, his construction of tension, and his ability to turn a simple musical gesture into a dramatic event.

  • Lo speziale (“The Apothecary”) — A comic opera to a libretto based on Carlo Goldoni, first performed in 1768 for the opening of the new theatre at Eszterháza. Although its music survives only in part, it represents an important stage in the development of Haydn’s theatrical writing.
  • Il mondo della luna (“The World on the Moon”) — First performed in 1777 and also based on a Goldoni libretto. Its story of elaborate deception gives Haydn room for comic exaggeration, rapid shifts of character, and especially imaginative orchestral writing.
  • La fedeltà premiata (“Fidelity Rewarded”) — An opera of 1781 from the mature phase of Haydn’s theatrical activity at Eszterháza. It combines serious and comic elements within a carefully organized dramatic structure.
  • Orlando paladino — First performed in 1782, it was one of Haydn’s most popular operas during his lifetime. The coexistence of heroic, comic, and fantastic elements allows for continual shifts of musical style and dramatic tone.
  • Armida — The opera of 1784 was the last major stage work Haydn composed for the Esterházy court. Its more serious dramatic manner and active orchestral role anticipate aspects of his mature vocal style.
  • L’anima del filosofo, ossia Orfeo ed Euridice — Written in London in 1791 for the British stage, it was not performed because of theatre licensing problems. It did not reach the stage until 1951 and stands as Haydn’s final completed theatrical work.

Haydn’s career is not simply a succession of works that helped establish the symphony, string quartet, or sonata. It is the story of a composer who continually tested the limits of those forms and searched for new ways of organizing musical time. From the early court symphonies to the London scores, and from the Op. 20 quartets to Opp. 76 and 77, his language becomes more concentrated and freer without ever losing its clarity.

Humor and surprise, qualities often associated with his name, are not merely cheerful diversions. In Haydn’s music they can become compositional tools: a pause disrupts continuity, a sudden forte changes the scale of a phrase, and a delayed expected cadence alters the way we hear an entire section. In this way Haydn creates an unusually active relationship between the work and the listener.

His influence on Mozart, Beethoven, and later generations therefore extends beyond the historical development of particular musical genres. It lies more deeply in a way of thinking about composition in which the small can generate the large, form can take on dramatic function, and rigorous organization can coexist with freedom, humor, and surprise. Much of the enduring power of Haydn’s music lies in that balance.